Lives in Between
Lives in Between
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print




















Lives in Between
Lives in Between
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print
2021-2022
analog photography, gum bichromate over cyanotype print, gelatin silver print
What defines the end of existence? What follows after we cease to exist?
Death remains the ultimate mystery; despite its intimidating nature, we can't help but probe into unraveling its secrets.
My first significant encounter with death was an unforeseen happening when I lost my grandfather in a car accident. This incident pressured me into facing a fact I had always sidestepped, sparking deep reflection on mortality and its impact on the living.
In 'Lives in Between,' I delve into the thin line between being and nothingness through analog film photography and traditional printing techniques. My subjects—cacti, ladybugs, carcasses, human forms, and wilting florals—serve as powerful metaphors for life's fragility and resilience. The project's title not only represents life from birth to death, but also hints at the many life forms balanced precariously between these two phases.
The use of gum bichromate and cyanotype printing processes results in ethereal, bluish monochrome images. These time-consuming techniques mirror the patience and precision needed to examine the concept of cessation. The tangible quality of film grain and handcrafted prints, along with their inherent softness in contrast to digital imagery, echoes the hazy boundary between existence and non-existence. My approach to this theme is more nuanced than shocking depictions of death, reflecting my Asian background where such topics are treated with reserve. Living in the United States, however, has brought new perspectives, like frequent sightings of roadkill, quietly reminding me of death's pervasive yet fleeting nature.
Through this body of work, I aim to document and preserve the gradual progression of lives, reflecting personal experiences, human fears, and our quest to understand this compelling unknown. I invite viewers to immerse themselves in the atmosphere these images create, hoping to spark introspection about their own experiences with mortality and foster deeper reflection on this universally shared, yet profoundly individual, aspect of existence.
What defines the end of existence? What follows after we cease to exist?
Death remains the ultimate mystery; despite its intimidating nature, we can't help but probe into unraveling its secrets.
My first significant encounter with death was an unforeseen happening when I lost my grandfather in a car accident. This incident pressured me into facing a fact I had always sidestepped, sparking deep reflection on mortality and its impact on the living.
In 'Lives in Between,' I delve into the thin line between being and nothingness through analog film photography and traditional printing techniques. My subjects—cacti, ladybugs, carcasses, human forms, and wilting florals—serve as powerful metaphors for life's fragility and resilience. The project's title not only represents life from birth to death, but also hints at the many life forms balanced precariously between these two phases.
The use of gum bichromate and cyanotype printing processes results in ethereal, bluish monochrome images. These time-consuming techniques mirror the patience and precision needed to examine the concept of cessation. The tangible quality of film grain and handcrafted prints, along with their inherent softness in contrast to digital imagery, echoes the hazy boundary between existence and non-existence. My approach to this theme is more nuanced than shocking depictions of death, reflecting my Asian background where such topics are treated with reserve. Living in the United States, however, has brought new perspectives, like frequent sightings of roadkill, quietly reminding me of death's pervasive yet fleeting nature.
Through this body of work, I aim to document and preserve the gradual progression of lives, reflecting personal experiences, human fears, and our quest to understand this compelling unknown. I invite viewers to immerse themselves in the atmosphere these images create, hoping to spark introspection about their own experiences with mortality and foster deeper reflection on this universally shared, yet profoundly individual, aspect of existence.
What defines the end of existence? What follows after we cease to exist?
Death remains the ultimate mystery; despite its intimidating nature, we can't help but probe into unraveling its secrets.
My first significant encounter with death was an unforeseen happening when I lost my grandfather in a car accident. This incident pressured me into facing a fact I had always sidestepped, sparking deep reflection on mortality and its impact on the living.
In 'Lives in Between,' I delve into the thin line between being and nothingness through analog film photography and traditional printing techniques. My subjects—cacti, ladybugs, carcasses, human forms, and wilting florals—serve as powerful metaphors for life's fragility and resilience. The project's title not only represents life from birth to death, but also hints at the many life forms balanced precariously between these two phases.
The use of gum bichromate and cyanotype printing processes results in ethereal, bluish monochrome images. These time-consuming techniques mirror the patience and precision needed to examine the concept of cessation. The tangible quality of film grain and handcrafted prints, along with their inherent softness in contrast to digital imagery, echoes the hazy boundary between existence and non-existence. My approach to this theme is more nuanced than shocking depictions of death, reflecting my Asian background where such topics are treated with reserve. Living in the United States, however, has brought new perspectives, like frequent sightings of roadkill, quietly reminding me of death's pervasive yet fleeting nature.
Through this body of work, I aim to document and preserve the gradual progression of lives, reflecting personal experiences, human fears, and our quest to understand this compelling unknown. I invite viewers to immerse themselves in the atmosphere these images create, hoping to spark introspection about their own experiences with mortality and foster deeper reflection on this universally shared, yet profoundly individual, aspect of existence.